Musical Characteristics: Three-movement suite based on Acadian
melodies which are in simple folk style. The settings are in keeping
with the style of the melodies. Simple structural and developmental
techniques are used. Repetition plays an important role. For the
most part, the suite is in B-flat major or its relative minor,
G minor. Movement I (New Promise) uses mainly primary chords with
some diminished seventh chords, secondary dominants, and neapolitan
sixths. Movement II (Chants) uses open fifths and fourths and
modulation effectively. Movement III (Pioneer Promenade) uses
basic harmonies in B-flat major. The melodies feature limited
ranges, small melodic intervals, and conjunct motion. Rhythmic
patterns are very basic. Prominent intervals in the melody of
"New Promise" are perfect fourths and a descending diminished
fifth. The movement features much simple homorhythmic motion with
occasional two-part textures. Metre is 4/4, with a moderate tempo
(quarter note = 60). Movement II, like Movement I, features perfect
fourths in the melody, and is in 4/4 time with quarter note =
60. The "dotted quarter rest, eight note, accented quarter
note, tenuto quarter note" rhythmic figure in the brass frames
Movement II since it is used in the introduction which is repeated
at the end (D.C. al Fine). Variants of this figure are also found
in accompanying voices at various points in the movement. Ties
across the bar line are featured in the section which begins at
letter A. "Pioneer Promenade" begins with a lively dance
style tune in 4/4 (quarter note = 120) with a characteristic rhythmic
figure featuring two eighth notes at the beginning of the bar.
A contrasting slower section (quarter note = 60) at letter B features
homorhythmic brass movement in quarter and half notes. With the
D.C. al Fine, there is a return to the lively opening section,
thus creating an A B A form. Textures in the suite tend to be
homophonic or simple melody-accompaniment. Special effects are
used sparingly (e.g., muted Trumpets, and effects produce by scraping
from the centre of the Cymbal to the edge). Dynamics are clearly
marked with quite frequent cresc. and dim. effects and occasional
more sudden contrasts. Dynarnics range from f to p, with a fade
away to pp indicated at the end of the introduction to Movement
I.

Technical Challenges: Ranges for Flute and Bassoon present
challenges. Good dexterity is needed in Movement III for the instruments
playing the moving lines where quarter note = 120. Articulation
requires care especially in Movement III where there are subtle
changes of articulation. Rhythmic precision is particularly important
because there ls so much homorhythmic movement in this suite.
Staccato quarter note accompanying patterns in Movement III must
be precise, cleanly articulated, and consistent in length. Tone
must be well supported without being heavy.

Pedagogical Value: This suite is useful for working on phrasing,
intonation, and full, well blended band sound. It is also a valuable
study in repetition and contrast. This is a very accessible piece
for an intermediate level band.

CALVERT, MORLEY

SUITE ON CANADIAN FOLK SONGS

Instrumentation: Standard band minus E-flat cl, db; plus trgl,
wbk

Duration: 10'

Availability: Composer

Level: Medium

Musical Characteristics: A three-movement suite. Movement I
is based on the Quebec folk song "Marianne s'en va-t-au moulin,"
and Movement II is based on "She's Like the Swallow"
from Newfoundland. The Quebec folksong "J'entends le moulin"
is the basis for Movement III. Movement I is an energetic Allegro,
in 6/8 metre with dotted quarter note = 144. Movement II is slower
( quarter note = 88 in 3/4 metre) and is more expressive and cantabile
in style. The suite concludes with a lively third movement which
begins quarter note = 120 in 4, then increases in speed at letter
F, again at letter G, and again at letters H and I. Calvert uses
a variety of compositional techniques to develop the folk song
materials. For example, he fragments the melodies, he adds countermelodies
and rhythmic and harmonic accompanying patterns, and he changes
the instrumentation, the texture, and the tempo. The harmonic
idiom is tonal, with some complex and unusual progressions and
modulations. There is a good deal of variety in texture, from
a solo instrument (e.g., solo Bassoon or Baritone at the beginning
of Movement III), to duets, to sectional soli, to sectional choir
textures (e.g., clarinet choir in Movement II), to brass and woodwind
choirs, to full band. Although Calvert uses mainly melody-accompaniment
textures, there are some imitative effects (e.g., the opening
of Movement I). There is a wide dynamic range, and in addition
there are muted brass passages in each movement and percussive
clapping effects in Movement III which add timbral variety to
the suite.

Technical Challenges: Good dexterity is required in Movement
I on the chromatic figures (bar 85 ff.) and on the woodwind trills
(bar 116 ff.). Movement III makes the greatest dexterity demands
because of the speed. Rhythmic precision and clarity of articulation
are needed. Ensemble challenges increase in Movement III as the
speed becomes faster, the texture thickens, and rhythmic activity
increases. There are some high register passages for Flutes, Clarinet
I, Trumpet I, and Trombone. Confident and clean playing is needed
by the solo Bassoon (or Baritone) at the beginning of Movement
III, and precision is needed when a second Bassoon (or Baritone)
player joins the first on the solo line in the fifth bar. There
are some quick changes between instruments in the percussion section.
Good balance is needed between melody and accompaniment.

Pedagogical Value: This suite provides opportunities to develop
ensemble blend and balance, and to work on dexterity and rhythmic
precision. It is an interesting study in contrasts. Valuable for
analysing compositional techniques used to develop simple foLk
song material.

CLARKE, F. R. C.

CORTEGE 125

Instrumentation: Standard band plus bsn II; minus ob II, tpt
III, db

Duration: 5'

Availability: CMC

Level: Medium

Musical Characteristics: This composition, originally scored
for brass and organ, was written for the convocation in honour
of the 125th anniversary of Queen's University. The composer rescored
the piece in 1974 for wind ensemble. The numbers 1, 2, and 5 in
the title indicate not only the occasion of the 125th anniverary,
but also the use of the first, second and fifth degrees of the
scale as the source of melodic and harmonic material. Melodic
material is also drawn from the hymn tune "St. Anne"
which is traditionally used at Queen's University convocations,
and from the first movement of the Sibelius Fifth Symphony. The
form of Cortege 125 is A B A. The A section features a good deal
of staccato articulation, while the B section in more legato.
Section A is generally more active rhythmically than is section
B. Metre is 4/4 throughout, with quarter note = 144. There is
an allargando in the final three bars. The harmonic idiom is tonal.
The piece begins and ends in B~+. There are modulations during
the piece, and there are some dissonances. Textures change frequently,
with some exposed soli sections and considerable independence
between the woodwind and brass sections. Dynamics range from p
to ff.

Technical Challenges: Accidentals and articulation markings
must be carefully observed. Good blend of sound is needed, especially
in unison passages. Upper woodwinds require good dexterity on
the septuplet sixteenth note runs. The sixteenth notes which anticipate
the beat must be rhythmically precise. Good fluency is needed
when eighth notes pass from one voice to another. Trombones have
some rapid slide movement from low to high positions in eighth
note passages.

Pedagogical Value: This piece is useful for developing rhythm,
tone, and articulation. Students can analyse Clarke's use of I,
II, and V.

CLARKE, F. R. C.

FLOURISH FOR THE CHANCELLOR

Instrumentation: Standard band minus ob II, tpt III, db

Duration: 1'5"

Availability: CMC

Level: Medium

Musical Characteristics: A short ceremonial flourish which
opens with brass fanfare figures. In bar 7, a more fully scored
processional march style section begins. The fanfare figures reappear
before the final allargando bars. There is much homorhythmic movement.
Metre is 4/4, with quarter note = 72, Maestoso. Dynamic range
is from f to fff, with the style indicated as Non legato e ben
marcato. Tonal, in A-flat major, with emphasis on I, IV, and V
chords, and some added sevenths and ninths.

Technical Challenges: The marcato, detached tonguing must be
well controlled. There are some extended ranges which require
good tone control. Although dynamic levels are loud, the tone
must not be forced, especially in the upper registers. Careful
attention to intonation is needed. Players must be alert when
reading accidentals (especially double flats and F-flat and C-flat).
Trombone I and II must read tenor clef. Ensemble precision and
good balance and blend are needed on homorhythmic passages.

Pedagogical Value: Where a work of this type is needed for
a ceremonial occasion or to open a concert program, "Flourish
for the Chancellor" can provide opportunities to develop
ensemble precision and full but unforced band sound.

Musical Characteristics: An attractive arrangement of the well
known Canadian folk song, "Land of the Silver Birch."
Dorian mode. Mainly tertian harmony but with some quartal harmonies
as well. Considerable variety of texture, with simple polyphonic
and homophonic textures used. Thinly scored opening (Flute, Clarinets
in unison, and Bells), then becomes more thickly scored. Considerable
use of ostinato figures. Tempo is moderate (quarter note = 84).
Metre is 4/4. Basic rhythmic patterns with no tempo changes except
for the final ritard. Dynamic range is mp to f.

Technical Challenges: The slurred eighth note figures in Flute,
Oboe, and Clarinet I must be well controlled. Bells require some
use of alternate sticking, repeated strokes with the same hand,
and some cross sticking, but most movement is scalewise. Sustaining
of long tones requires good control. Types of articulation are
not difficult but they must be carefully observed and executed.
Endurance will not be a problem since the piece is short (49 bars)
and there are ample rests. Good balance must be sought so the
accompanying parts do not overpower the melodic line. Players
must listen and adjust as the melody moves from one section of
the band to another.

Pedagogical Value: An effective and enjoyable piece. A useful
study in changing textures. Provides valuable ensemble training
since the players must be aware of the movement of the melody
from one section of the band to another and since balance between
melodic and accompanying lines requires attention. Useful exposure
to modal and quartal harmony. The lower lines are more interesting
and challenging than in many pieces at this level, and the percussion
section is used to a greater extent. Challenging use of tuned
percussion (Bells).

Musical Characteristics: This three-movement composition is
based on the perfect fourth interval. Movement I is to be played
"In a brisk, fast tempo," with quarter note = 120. Metre
is 4/4, with one change to 3/4 (bars 48-51). The opening theme,
first stated by Clarinet I, features perfect fourths. Motives
from this theme are used in all three movements. Coakley treats
the theme canonically in Movement I. Rhythmic diminution and augmentation
of thematic material are also used. Movement II is slow and expressive.
It begins with quarter note = 56 in 3/4. Metre changes frequently,
with 2/4 and 3/4 as well as 4/4 being used. There are frequent
variations in tempo and dynamics. The section which begins at
bar 30 is to be played slightly faster, and from bar 37 to bar
40 an accel. e cresc. leads to a ff climax, a tempo. There are
ritards in bars 12, 44, and 50, returning to the original tempo
in bars 13, 46, and 52, and there is a rit. leading to the final
bar which is marked with a fermata and a diminuendo. Movement
III, like Movement I, is fast, with quarter note = 120. Metre
changes frequently. 2/4, 3/4, and 4/4 are used. This movement
features effective contrasts in articulation. For example, the
opening has a staccato melody in Flute I, Oboe, and Clarinet I
moving over a legato eighth note ostinato in Clarinets II and
III and Alto Saxophones, supported by sustained long tones in
Trombones and Baritone. Motives from the theme of Movement I recur
here, and the full theme is played by Clarinet I beginning in
bar 39, answered in bar 42 by Flutes. The interval of a perfect
fourth is prominent vertically as well as horizontally in this
composition. Chord clusters are used frequently. Changes of texture
and dynamics add to the musical interest.

Technical Challenges: All sections of the ensemble are challenged
by important, exposed lines. Entries after rests must be secure,
and overlapping phrases must be well controlled. Metre changes
require careful counting and a keen awareness of the rhythmic
pulse. Special care is needed when tempo fluctuations and metric
changes coincide (e.g., bars 11 to 15 of Movement II). Good control
of tone production is needed, especially where there are demanding
ranges (e.g., Flutes in bars 7 to 11 of Movement I; Trumpets in
bars 29 to 39 of Movement I and in bars 25 to 33 of Movement III).
Changes of dynamics and articulation also require good control.
Work is needed to achieve good intonation. The frequent use of
dissonance requires careful listening and tuning (e.g., clusters
of major seconds built up at the beginning of Movement II). Good
blend and balance of voices within dissonant chords must be sought.

Pedagogical Value: This piece helps players develop control
of tone, breathing, articulation, dynamics, and tuning. It also
provides opportunities to explore contemporary sounds and tonal
structures, and to develop rhythmic, ensemble, and aural skills.

Musical Characteristics: Three-movement suite. Movement I (Latino)
is in Latin American style. Features repeated rhythmic patterns,
repeated neighbour-note figures, and repeated ascending-descending
patterns. Frequent metre changes (3/4, 2/4, and 4/4 are used)
with a constant quarter note = 108. Maracas and Guiro help to
provide Latin American sound. Emphasis on open chord structures
with octaves, unisons and fourths. Moderate chromaticism and dissonance
with modal touches. Generally thick textures with frequent homorhythmic
movement of groups of instruments. Movement II (D'ou viens-tu,
bergere) is based on a French Canadian folk song. Straight-forward
harmonies in E-flat major. Lyrical, graceful melody is passed
from one section of the band to another. Various textures are
used, from a single line in the opening four bars to full band.
Some antiphonal type passages between brass and woodwinds. Metre
is 4/4, with quarter note = 60. Simple rhythmic patterns with
some ties across the bar line on sustained notes. Limited dynamic
range ( mp to f). Movement III (Ritual Walk) is in the style of
a stately march. In 4/4, with quarter note = 100. Simple melodic
materials are repeated and developed. Especially prominent in
the melodic material are the recurring perfect fourths and minor
thirds. Frequent use of neighbour-tone figures reminiscent of
Movement I. Basically tonal but with some use of dissonance. Quartal
as well as tertian harmony. Some use of parallel seconds. Generally
straight-forward rhythms with some ties across the bar line. Density
of scoring varies, but there is considerable doubling of parts
and frequent homorhythmic movement in sections. Some dialogue
between brass and woodwinds. Moderate number of dynamic changes,
ranging from mp to f.

Technical Challenges: Ranges and dexterity challenges are moderate.
Changes of articulation require careful attention. The distinction
between staccato and accented articulation must be clear in Movements
I and III. Movement II requires well controlled legato with special
attention to smooth slurs and portato articulations. Movement
III also requires some legato articulations which contrast with
marcato and staccato. Long sustained notes in lower brass require
good control of tone and snatch breaths. Good balance between
melody and accompaniment calls for sensitive listening and adjusting.
Tuning and blend require attention where voices move in octaves.
Special care is needed in tuning parallel seconds in Movement
III. Good blend of sound and rhythmic precision are needed in
homorhythmic sections. Changing metres in Movement I require careful
counting and close attention to the conductor's beat.

Pedagogical Value: This suite provides opportunities to study
repetition and contrast (repetition of melodic and rhythmic material;
contrasting styles from one movement to the next; contrasting
articulations within and between movements). Useful for rhythmic
and aural development.

Musical Characteristics: Three movements which employ Twentieth
Century compositional techniques. Movement I (Six in a Row) is
based on a six-tone row which appears in various forms (e.g.,
retrograde, inversion). The row is angular but with no large leaps.
It is treated pointillistically near the end of the movement.
Mainly linear writing, with considerable variety of texture from
transparent to full sonority. Atonal, with some quartal harmonies.
Moderately fast (quarter note =112), with frequent metre changes
(4/4, 2/4, 3/4) and with straight-forward rhythmic patterns. Movement
II (Modal Song) is in A B A' form. It is based on two modal scales
(Dorian and Mixolydian). The writing is lyrical and scoring is
generally full. The modal melody moves mainly by step. Moderately
slow, with quarter note = 76 in 3/4 metre. Elementary rhythmic
patterns. Quite frequent use of tied notes. Movement III (Polymetrechordalcluster
March) is in A B A' form. It is to be played "in the style
of a procession." It features the build-up of chords and
dissonant tone clusters. There are frequent metre changes (2/4,
3/4, 4/4, and 5/4 are used), with quarter note = 112.

Technical Challenges: Care is needed in reading accidentals,
using chromatic fingerings, and tuning dissonances. Movement III
requires special care in tuning the tone clusters. Careful counting
is needed when metres change (Movements I and III). Entries after
rests must be clean and confident. Changes of articulation must
be observed. Movement II requires work on blend and sustained
tone.

Pedagogical Value: This piece provides exposure to contemporary
sounds within a musical context which is not too demanding technically.
Useful for developing aural and ensemble skills. Provides valuable
rhythmic training. Presents opportunities to analyse some Twentieth
Century compositional techniques.

Musical Characteristics: A short piece, contemporary in style,
with no conventional melodic, harmonic, or rhythmic organization.
Each instrument plays only one pitch. When these pitches are sounded
one by one, as in the opening, a pointillistic effect is produced.
When the pitches are sounded simultaneously, as at the end of
the piece, a dissonant tone cluster results. When fewer voices
sound together, the results are sometimes consonant, sometimes
dissonant. No time signatures are given, although sounds are arranged
in bars to enable the performer to relate his individual note
or group of notes to the rest of the ensemble. The basic pulse
is sometimes written as a whole note, sometimes as a half note,
and sometimes as a quarter note. The score indicates whole note/half
note/quarter note = 120. The number of beats per bar varies (e.g.,
four, five, seven). Varieties of texture from a single line to
full ten-voice texture. Considerable independence between sections
of the band, and considerable variety in the instrumental combinations
used. Dynamic range is from p to f. There are three bars in which
the players silently read a short narrative about Mrs. Mactwivley,
or, if the performers wish, a narrator can read the words aloud.

Technical Challenges: The technical demands have been kept
to a minimum to enable each player to listen to the sounds of
the ensemble as a whole and to relate his sounds to those of the
other players. Evans has chosen for each instrument a pitch which
is easily tuned and is in the middle range. The challenge is to
maintain good ensemble intonation since there are no conventional
melodic lines or traditional harmonies. Confidence and precision
of entries and cut-offs require work. All players must learn to
read from the score, and must judge their entries relative to
those of the other sections of the band. Sensitive listening and
alertness are essential. Since the score is in concert pitch,
some players must transpose. Evans suggests that greater technical
challenges can be created by having the players change their notes
(e.g., up a tone, down a semi-tone) at a signal from the conductor,
by changing rhythms without changing the metre, or by positioning
players in various corners of the room to achieve a different
spatial effect.

Pedagogical Value: A technically easy but musically challenging
piece. Provides exposure to contemporary sounds. Valuable for
developing aural and ensemble skills. Provides the student with
experience playing from a score and relating his part to the others
in the ensemble. An interesting intonation challenge.

Musical Characteristics: A light and lively piece in A B A
(da capo) form, ending with a four-bar coda. Allegretto, common
time. Various instruments share the melodic interest in this piece,
with considerable doubling of parts. For example, the A section
begins with the melody in Clarinet I, Cornet I, and Euphonium,
joined in bar 4 by Flute I and E-flat Soprano Clarinet, in bar
5 by Glockenspiel, and in bar 6 by Oboe I. A countermelody is
played by Alto Sax I and II, Tenor Sax, and Horns I and II, joined
in bar 5 by Cornet II. The A section features interlocking on-
and off-beat accompanying figures supporting the melody and countermelody.
The B section is introduced by a repeated homorhythmic brass fanfare-type
passage, followed by a section featuring a showy running sixteenth
note passage in thirds between Flute I and II supported by the
on- and off-beat accompanying figures. Tonal, moving from G+ to
E-, and back to G+. Dynamic range is from pp to ff. Ends with
the full band fading to a final pp.

Technical Challenges: Upper register notes require good control
(e.g., in Flutes, E-flat Soprano Clarinet, B-flat Clarinet I,
Cornet I). Flute sixteenth note passage in thirds must be clearly
and fluently played, as must the sixteenth note scale figure which
links the statements of the main theme. Oboe sixteenth notes must
fit exactly with the on-going flow of the Flute sixteenth notes
after letter C. Articulation must be well controlled, especially
the brass staccato on the fanfare figure (beginning at letter
B). Good balance is needed between melodic and accompanying material,
and between melody and countermelody. The accompanying figures
must be light, clean, and precise.

Pedagogical Value: A tuneful piece providing opportunities
to develop good balance betweeen melody and accompaniment. Useful
for a band with players of varying abilities since the accompanying
parts tend to be considerably easier than the parts which present
melodic material.

Musical Characteristics: Subtitled "A Country Ballad for
Band," this piece is based on a simple eight-bar folk-like
melody. The pastorale style and the gentle rise and fall of the
melodic line suggest a rolling rural countryside. The smoothly
flowing cantabile melody moves from instrument to instrument within
the band. Variety is provided by the changes of timbre and register,
and also by some fragmentation and extension of the melody. Metre
is 4/4 throughout. The four-bar introduction, which moves in half
notes, is marked "Andante Semplice." In bar 5, the expressive
melody begins. It moves mainly in eighth notes, with points of
rest on quarter or dotted quarter notes. The marking here is Andante
con moto. There are some expressive rallentando and allargando
effects, with a Maestoso marking at the ff climax in bar 62, and
a return to Andante Semplice for the coda. Texture is mainly full
band, with an often heavily doubled melodic line supported by
a chordal accompaniment. There are some more thinly scored passages
featuring the woodwinds. The coda features thinner textures as
a fragment of the melody passes from one instrument to another
(e.g., from English Horn, Bassoon, and Cornet I to solo Clarinet
I and solo Horn I, to solo Flute I, Piccolo, and Glockenspiel).
Wide dynamic range (pp to ff), with many crescendo and diminuendo
effects, and some sudden dynamic changes. The timbre of the English
Horn and the Bird Whistle (used in the coda) help to produce a
pastorale effect. Generally straight-forward, conventional use
of harmony.

Technical Challenges: Some extended ranges, especially for
Piccolo, Flutes, Clarinets, Bassoons, Horns, Cornets, and Tuba.
Good control and sensitive listening are needed to achieve the
required dynamic changes, the cantabile style, and the smooth
legato articulation. Repeated notes require well controlled portato
articulation. Clarinets have some tricky break crossings which
require smooth finger action. Attention to accidentals, good knowledge
of chromatic fingerings, and careful tuning are needed in the
climactic section at letter F. Good blend and balance are needed
on widely spaced, full-voiced chords. Melodic voices must blend
well through the various doublings, and good balance between melody
and accompaniment must be sought.

Musical Characteristics: This tuneful march features a cantabile
A section in 6/8, and a sprightly rhythmic B section (Trio) in
2/4. In bar 36, the opening A melody is repeated in the upper
woodwinds and Trumpet I, followed in canon one bar later by Baritone,
Trombones I and II, and Tenor Sax. The march begins with quarter
note = 126. The Trio is marked "L'istesso tempo," and
the final twenty bars are marked "un poco maestoso."
There is a good deal of repetition of basic rhythmic patterns.
The accompanying voices are very straight-forward rhythmically.
Conventional tonal harmonies are used throughout, with heavy reliance
on tonic and dominant chords. The A section is in E-flat major
throughout. The Trio begins in A-flat major, then moves to C major,
and returns to E-flat major in the final twenty bars. There are
few changes of texture, with full band playing almost throughout,
and much doubling of parts. There is considerable variety of dynamics,
with a range from pp to ff.

Technical Challenges: Ranges tend to push the upward reaches
in most instruments, but the parts generally lie well. There are
some extended phrases for Trumpet I and II in the high register.
Good dexterity and rhythmic precision are needed. Changing articulations
(legato, staccato, accents, slurs) must be carefully observed.
Melody and accompaniment must be well balanced. Unisons and octaves
must be carefully tuned.

Pedagogical Value: An attractive march in a conventional musical
style. Provides opportunities to develop good tone production
in the upper registers, and to work on ensemble clarity and precision.

KEANE, DAVID

CIRCLE DANCE

Instrumentation: Any number and combination of instruments

Duration: Variable

Availability: Composer

Level: Medium

Musical Characteristics: Five sections, with the fifth section
being a retrograde inversion of the first. The piece is graphically
notated, without any conventional notating of rhythm or pitch.
Where a specific pitch is required, it is indicated in a box,
to be interpreted as a sustained concert pitch, played in any
octave. Where a boxed X occurs, each performer selects and sustains
his own pitch. Where four Xs in a box is indicated, each
performer selects any series of pitches with any rhythm. The performers
are to be placed around the perimeter of the room, with the conductor
standing in the centre, cuing the players as he rotates clockwise
in sections one and five, and counterclockwise in section three.
In sections two and four, the performers move together from one
box to the next, with the conductor cuing the beginning of each
box. Layering effects are produced as players begin and end a
section one at a time. The piece begins with the texture gradually
thickening as players are cued one by one to enter, marching in
step. The marching continues as an ostinato effect throughout
the piece, with the players one by one cued to stop marching at
the end. Dissonances will be formed when performers select their
own pitches, and when players move one by one from a specified
pitch to another pitch (e.g., from concert G to concert A-flat
in section one). The piece builds dynamically from p to mf, through
a crescendo to ff, and back down from p to pp. Variety of timbre
is provided by some humming and the sounds of marching feet, in
contrast to the instrumental sounds. Individual players may provide
their own changes of timbre as they make their own choices in
realizing the graphic notation. Since any combination of instruments
may be used, the choice of instruments will of course affect the
sound of the piece as it is played.

Technical Challenges: Since performers can play the specified
pitches in any octave, and can choose their own pitches where
Xs are indicated, ranges need not be demanding. Dexterity
also need not present problems, since performers can choose their
own pitches and rhythm where four Xs in a box is indicated,
and elsewhere players sustain a single pitch until cued to move
to the next pitch. The long sustained pitches require endurance
and good control of tone, although the performers are instructed
to take breaths as necessary. Players must be alert to follow
the cues of the conductor for their entrances, and must be confident
as they enter one by one. They must also be able to think in concert
pitch, to tune unisons and octaves carefully, and to enter confidently
on their own chosen notes.

Pedagogical Value: Interesting for the study of graphic notation.
Provides students with opportunities to make musical choices as
they realize the graphic notation. Valuable for developing aural
skills (playing and humming specified concert pitches and dissonant
tone clusters) and for developing ensemble sensitivity. A challenging
exercise in watching the conductor. Useful for developing breathing
technique and control of tone production. Can be used as a model
for student compositions.

KULESHA, GARY

MARCH IN F

Instrumentation: Standard band minus ob II

Duration: 4'30"

Availability: CMC

Level: Medium

Musical Characteristics: This composition uses an Introduction
A B A formal design. The 14-bar introduction features short ascending
motives and a fanfare-type figure. The basic thematic material
of section A is introduced by Trumpets and is then repeated and
developed, passing to other instruments and sections of the band.
Section B (beginning at letter G) features repetition and development
of short rhythmic and melodic motives. A "D.S. al Fine"
leads to a repetition of the entire A section. The piece moves
at a lively tempo, with half note = 108 in cut time, with occasional
changes to 3/2. Rhythmic patterns are quite straight-forward,
with some syncopations and ties within and across bars. The piece
moves through several tonal centres (F, D-flat, B-flat), with
some primary chords and some more contemporary quartal and quintal
harmonies, chromaticism, and dissonance. There is considerable
variety of texture, from thin to thick, with sectional soli, duets,
trios, and quartets. Brass and woodwind sonorities are effectively
contrasted, and there is a wide dynamic range (p to fff), with
frequent sudden and subtle dynamic changes. Muted Trumpet adds
timbral variety.

Technical Challenges: There are some difficult ranges for Piccolo,
Flutes, E-flat Clarinet, Clarinet I, Trumpet I, Trombone III,
and Tuba. Dynamics must be carefully observed and well controlled.
Tone must not be forced, even at extreme dynamic levels. Careful
listening is needed to achieve good ensemble intonation, balance,
and blend. Where textures are thin, exposed lines must be played
with confidence. Good balance of sound is needed in full band
passages, and within sections where there are sectional soli (e.g.,
Trumpets and Clarinets). Special care is needed where lower voices
have melodic material. Phrasing requires attention because different
sections of the band have different phrasing patterns. Fluency
is needed as melodic and rhythmic material passes from one voice
or section to another (e.g., in the opening four bars). Tempo
must not drag, and rhythmic patterns must be executed with precision.
Special care is needed in fitting together several different rhythmic
patterns. Changes of articulation must be observed. Good dexterity
is needed in eighth note passages.

Pedagogical Value: This piece provides opportunities to work
on ensemble balance, blend, intonation, tone production, and rhythmic
precision. It is a useful study in dynamics.

Musical Characteristics: The two pieces explore Twentieth Century
performing techniques. Each piece can stand on its own in performance.
The first piece, "March," is in traditional march form
(A B A coda). The A section is very aggressive, while the contrasting
B section is somewhat more relaxed. In his preliminary notes in
the score, Kulesha writes: "There is no specific image intended,
but perhaps this muscular piece could suggest the approach of
extreme danger, perhaps the marching of an enemy army. The middle
section is less anxious, but just before the D.S., the low instruments
start to suggest the creeping return of the mood of the opening."
There are two main themes. The opening march theme is aggressive
and rhythmically energetic. The eighth note theme of the B section
is less aggressive. The piece features much use of dissonance
(polytonal layering and dense tone clusters). It is in 4/4 throughout
(quarter note = 100). There is frequent use of syncopation. Textures
and timbres vary, with exploration of brass and woodwind choirs
and mixtures of brass and woodwind. March concludes with homorhythmic
full band. Changing dynamics and articulations contribute to the
dramatic quality of the piece. The second piece, "Through
Morning Mist," is, as the title suggests, an example of descriptive
music. The piece is graphically notated, and the performers have
considerable freedom in interpreting the notation. There are no
traditional metric or rhythmic patterns or melodies. Musical events
are indicated in terms of seconds. Unusual sound effects are used
(e.g., bird calls and unpitched blowing). There is a wide dynamic
range, from ppp to fff, which Kulesha describes as being "as
soft as possible" and "as loud as possible." There
is a move from dissonance (tone clusters and chromatic movement)
to consonance as a major chord dispels the mist at the end.

Technical Challenges: The first piece requires careful work
in hearing and tuning dissonances, and in playing rhythms precisely.
There are some dexterity challenges because of changing accidentals
and chromatic movement. Work is needed to achieve clarity of articulation
and good balance of voices in dissonant chords and tone clusters.
The second piece requires careful rehearsal so that players enter
confidently on the conductor's cues. Dynamics must be well controlled.
Individual independence is necessary in improvisatory passages
(e.g., improvised bird calls must not move together). Sensitive
listening and careful musical shaping are needed.

Pedagogical Value: These two pieces are useful for exploring
contemporary compositional techniques (e.g., dissonance, unusual
timbres, improvisation, graphic notation). March presents rhythmic
challenges. Through Morning Mist provides opportunities for players
to make musical decisions as they interpret the graphic notation,
making their own contributions to the overall musical effect.
Through Morning Mist also presents opportunities to discuss how
a composer paints a tone picture. It can be compared with impressionistic
tone poems.

Musical Characteristics: Considerable use of repetition. A
A B A coda form. Mainly four-bar phrases, with obvious breathing
spots and ample rests for young players. Tonal centres are mainly
F major and B-flat major. Emphasis on primary chords, especially
dominant and tonic. Limited use of dissonance. Mainly conjunct
melodic movement. Few large leaps. Metre is 4/4. Tempo marking
is "Allegro moderato." No tempo changes. Mainly simple
rhythmic patterns with some syncopations, off-beat entries, and
rhythmic augmentation. Frequent repetition of rhythmic patterns.
Simple homophonic and polyphonic textures. Considerable doubling
of parts. Some sectional soli (e.g., percussion opening; Trombones
between letters C and D). Some contrasting timbres due to varying
combinations of instruments and varying dynamics and articulations.

Technical Challenges: Ranges are generally Easy or Medium,
although Flute goes up to f and Tuba goes down
to F,. There are no major dexterity problems. Accidentals must
be carefully observed. Accents and changes between legato and
staccato require attention. Slurs are mainly up or down by step.
Dynamics must be well controlled.

Pedagogical Value: Challenging for all instruments without
being too demanding technically. Provides useful rhythmic and
ensemble training. An interesting study in changing textures,
articulations, and dynamics.

Musical Characteristics: This concerto is in three movements.
Movement I is "Allegro," in 4/4 metre. It opens with
a solo Trombone theme with a chordal accompaniment provided by
Bass Clarinet, Saxophones, and brass. This theme is then picked
up by Clarinets I and II, Horns, and Alto Saxophones, then by
Flutes and Bells. The melodic line is again supported by a very
basic accompaniment. Solo Trombone then takes over the melodic
line. There is increased independence of movement within the ensemble
as melodic and rhythmic motives are repeated and developed, passing
from one section or solo instrument to another. The first four
bars of the opening theme are played by solo Trumpet in the eighth
bar of letter C, and the theme returns at letter E, played by
solo Trombone, first with Clarinets, then with Flutes and Alto
Saxophones. The accompaniment here is thinly scored and features
triplet repeated chords. A cadenza for solo Trombone at letter
F is followed by another recurrence of the first bars of the opening
theme. Movement II is "Moderato," in 4/4 metre, with
a lovely flowing melodic line which passes between solo Trombone
and upper woodwinds. Movement III is in 4/2 metre, with half note
= 92. There is a short "Meno mosso" section beginning
at letter N, followed by an "A tempo." The final three
bars are again "Meno mosso." A broadly flowing style
is maintained throughout, with cantabile melodic lines featuring
a good deal of chromaticism and some large leaps. Melodic material
passes from voice to voice, with frequent doubling. The concerto
features considerable textural variety, with both polyphonic and
homophonic movement. The dynamic range is fairly limited (mp to
f, with no exploitation of extreme dynamics or unusual instrumental
timbres. The harmonic idiom is tonal, but with some unusual modulations,
frequent chromaticism, complex harmonic progressions, and dissonances.

Technical Challenges: Clarinets I and II have some exposed
octaves which must be carefully tuned. There are some rapid break
crossings for Clarinets, and some challenging chromatic alterations
and use of side keys due to the number of accidentals. There are
some extended ranges for solo Trombone, Flute, and Clarinet I.
The solo Trombone has some rapid changes between higher and lower
positions, and some wide leaps. The soloist must play with confidence.
Sensitive listening is needed to achieve good balance between
the solo Trombone and the instruments of the band, and to achieve
accurate intonation, especially in chromatic and dissonant passages.
Fluency must be sought as melodic material passes from one section
or instrument to another.

Pedagogical Value: This piece provides opportunities to develop
aural and ensemble skills, and to showcase a talented Trombone
soloist.

Musical Characteristics: 4 musical sketches, each subtitled
"A Song of Nova Scotia." Sketch I, "Cape Breton
Highlands," is based on a pentatonic theme which appears
4 times. After a short introduction, Clarinets play the theme.
Scoring is thin, with repeated open fifths suggesting Cape Breton's
Scottish heritage. In the theme's second appearance, texture thickens.
Saxophones play the theme a fifth above the Clarinets. A short
interlude, based on melodic material from the introduction, leads
to the theme's third appearance, this time in C rather than G-.
Flutes, Alto Saxes, and Cornets begin, followed in canon 2 beats
later by Tenor Sax, Trombones, and Baritone. The theme's fourth
occurrence is the most thickly scored. It is more fully harmonized,
with repeated fifths in an alternating "eighth note, eighth
rest" rhythmic pattern. A short coda uses a fragment of the
theme in canon, one beat apart. It is in 4/4, "Andante Simplice,"
becoming "poco animando" at the key change (letter D).
Sketch II, "South Shore Coves," features a modal theme
accompanied first by arpeggiated chords, then (at letter C) by
repeated brass chords moving in a steady quarter note rhythm.
Dynamics gradually increase and texture thickens, then dynamics
decrease and texture thins as a quiet coda, based on a fragment
of the theme, concludes the sketch. It is in 3/4, "Andante
cantabile," with gentle, rolling motion suggesting the sea's
ebb and flow. Harmonies are largely modal. Sketch III, "Annapolis
Valley Autumn," is pastoral in mood, "a melancholy portrait
suggesting the onset of winter as foretold by the falling of multi-colored
leaves." Built on a 4-note motive, stated by Flute and Cornet
I, then varied and passed from instrument to instrument, moving
up in half steps. Tempo is slow (Adagio), with changes of metre
between 3/4 and 4/4. Begins in G-, concludes in C-. Sketch IV,
"Fundy Tides," is in A B form. Section A is in F+. It
is Allegro non troppo, in 2/4 with a single bar of 3/8 in the
third bar of the melody. Constant eighth note motionsuggests the
tides' relentless power. The melody is played 4 times, increasing
in dynamic level and density of texture. The fourth time, the
rhythmic values of the melody are twice as long, while the accompanying
voices continue their eighth note motion. Metre changes to 3/4
instead of 3/8 in this fourth occurrence of the melody. A "molto
rit." leads to the B section, where the theme from Sketch
III is played "forte" by full band in D-. Metre changes
between 4/4 and 3/4. A short coda, using motives from the Sketch
III theme, "reflects the calm of the sea after the highest
tide is achieved."

Technical Challenges: Careful work is needed where chromatic
motion occurs. Changes of articulation and style also require
attention. In Sketch I, low brass and Baritone Saxophone must
be clean and rhythmically precise and must not overpower the melodic
line. In Sketch II, fluent playing is needed on the accompanying
eighth notes which pass from one section of the band to another.
They must not overbalance the melody. In general, throughout this
composition, care is needed to achieve good balance between melody
and accompaniment. Technically, the final 2 sketches are more
demanding than the other sketches. Sixteenth note figures in Sketches
III and IV demand good dexterity. Metre changes require careful
counting.

Pedagogical Value: Provides opportunities to develop articulation,
phrasing, rhythmic precision, and ensemble balance, and to analyse
a variety of compositional techniques. Changes of style from one
sketch to the next make it a useful study in contrasts.

Musical Characteristics: A lively swing tune built on a series
of one- and two-bar riffs with restricted ranges and driving energy.
Riffs are repeated and developed over a walking bass figure in
the low brass. In B-flat major with some colour of the minor sixth
chord. Primary emphasis on tonic, dominant, and subdominant harmonies.
Contrasts between woodwind and brass sections are exploited. Primarily
uniform ensemble dynamics ranging from mf to f with some cresc.
and dim. effects. Much homorhythmic movement. Brass and woodwind
sometimes answer back and forth, and sometimes play different
yet complementary rhythmic patterns. Common time, moderate tempo.
Eighths and syncopated rhythmic patterns need swing feel.

Technical Challenges: Technical demands are generally moderate.
Changes of articulation must be carefully observed. Lower brass
may have to do stagger breathing and take snatch breaths during
walking bass figures. Voices must be well balanced when they move
in rhythmic unison. Trombone glissando is the only special effect
required.

Musical Characteristics: A brass fanfare introduces this stately
processional march. The fanfare recurs in the coda, with the brass
joined by the woodwinds. Rhythmically straight-forward but with
interesting use of chromaticism giving the piece a contemporary
flavour. "Maestoso," with quarter note = 104, in 4/4
with occasional changes to 2/4 for single bars. Basic rhythmic
patterns recur. Roe writes for percussion instruments in a characteristic
processional march style. Various textures are used, with prominent
appearances of woodwind and brass choirs. Dynamic range is from
mp to ff.

Technical Challenges: No major range problems for a good high
school ensemble. Care is needed in reading, fingering, and tuning
chromatically altered notes. Whole tone scale figures must be
well in tune. Good blend of sound and attention to intonation
are needed when instruments move in unison or octaves (e.g., Flutes
I and II, Clarinets I, II, and III, Alto Saxes I and II, and Baritone
on the melody at letter A; Tuba, String Bass, Trombone III, Baritone,
Baritone Sax, Bassoon, Bass Clarinet, and Alto Clarinet on transitional
passage to letter M).

Pedagogical Value: This piece provides opportunities to work
on some contemporary sounds in an understandable framework. Particularly
valuable for ear training. Useful as a processional march for
a school convocation ceremony, but also strong enough musically
to be included on a concert program.

Musical Characteristics: Medley of four contrasting Nova Scotia
songs: "Sally Around the Corner 0," "The Nova Scotia
Song," "Captain Conrod," and "Acadian Fiddle
Tune." Considerable variety in key, tempo, metre, and timbre,
as well as in the style of the four melodies on which this composition
is based. Straight-forward harmonies, with changes of key (F+,
F-, C+, E-flat major, G+, B-flat major, and back to F-). Begins
with quarter note = 60, with changes of metre between 3/4 and
2/4, then between 4/4 and 6/4, Then moves to dotted half note
= 72 in 3/4, then quarter note = 96 in 4/4. The piece concludes
in 4/4 with quarter note = 60, changing to quarter note = 68.
There are some moderately complex rhythmic patterns in the first
tune. "Acadian Fiddle Tune" includes a good deal of
sixteenth note movement. Considerable variety of texture. Frequent
passing of melodic lines and rhythmic figures from one voice to
another. Frequent use of solos and sectional soli. Contrasting
timbres are achieved through varying the combinations of instruments,
through frequent dynamic changes (range is from pp to f with frequent
use of crescendo and diminuendo), and through the use of mutes.

Technical Challenges: Changes of tempo, metre, and key require
alertness. Good dexterity is needed on the woodwind and Trumpet
sixteenth notes in "Acadian Fiddle Tune." Articulation
markings must be carefully observed. At bar 22 ff, the repeated
rhythmic figure in Horns against the rhthmic figure in Flute,
Clarinet I, Tenor Sax, and Baritone Sax must be precise. Rhythmic
accuracy is important in Sally Around the Corner 0. Good balance
between melody and accompaniment must be sought, especially where
solo instruments are used and where accompanying figures are thickly
scored. Where textures are thin, parts are exposed, and therefore
confident playing is required. Glissando effects in Trombone and
Timpani must be well controlled. A good overall sense of musical
line is needed so the piece does not sound choppy as melodic and
rhythmic figures pass from voice to voice.

Pedagogical Value: Useful for developing precision in rhythm
and articulation, and for developing a sense of musical line and
texture as melodic and rhythmic figures pass from one instrument
or section to another. Provides opportunities to work on balance
and blend of sound, and to study how Sirulnikoff has treated the
four contrasting songs on which this composition is based.

Musical Characteristics: Theme and variations. Basically tonal
(G+) but with colourful chromatic progressions with much use of
borrowed chords, modal inflections, and extended seventh sonorities.
Extensive use of dominant pedal. Melody is lyrical in style with
smooth contours and limited range. The theme remains recognizable
in the variations although register and rhythmic changes occur.
The piece begins in 3/4, "Allegro Moderato," then moves
to "Largamente" (bar 67), then "piu mosso"
(bar 83) and "meno mosso" (bar 93). Bar 105 returns
to "Allegro Moderato," but the metre changes to 2/4.
In bar 147, the metre changes back to 3/4 as the opening theme
returns. Metre changes in bar 155 to common time, "Maestoso,"
for a short coda. Rhythmic interest increases as the theme is
varied throughout the piece. There is much use of traditional
woodwind and brass divisions to create simple two- and three-part
textures. Some use of sectional soli (e.g., Clarinets, Saxes,
brass). Some quasi-antiphonal effects in the middle and closing
sections. Musical interest is achieved in part by the use of various
timbres (e.g., stopped Horn, muted Trumpet, various percussion
instruments). There is much contrast between upper and lower registers.
Dynamic range is from p tof with occasional crescendo and diminuendo
effects. More use of such effects would enhance the phrasing and
the shape of melodic lines.

Technical Challenges: Surdin uses some extended ranges, and
these present the main challenges of this piece. There are also
some dexterity challenges (e.g., woodwind trills, ascending scalar
patterns in bar 109, some Tuba eighth note passages in the low
register, some rising eighth note scale patterns with accidentals
in Horn). In the percussion section, changes between instruments
require careful set-up of the parts and the performing area. Changes
of articulation must be observed. Care is needed on the Horn slurred
eighth notes (bar 67 ff.) because of the irregular groupings of
notes. Blend on woodwind patterns (e.g., bar 120 ff.) requires
consistency in articulation. Sustained notes must not overpower
moving lines (e.g., bar 97 ff.). Tempo changes require careful
rehearsal. There are some tricky entries. The syncopated Bell
figures in bar 83 ff. require confident, precise playing.

Pedagogical Value: This piece provides opportunities to work
on changing articulations. The long legato lines are excellent
for developing smooth articulation and full-bodied sound. Useful
for working on phrasing and projection of melodic line, and for
exploring compositional techniques used to vary a simple theme.

Musical Characteristics: Straight-forward march with considerable
use of repetition. The opening A section, in E-flat major, features
a four-bar theme which appears four times, moving from pp (scored
for woodwinds), to mf (scored for brass), to f for full band.
The B section, in A-flat major, is somewhat more developmental
in nature. The A section reappears, again in E-flat major, followed
by an eight-bar bridge leading to the concluding grandioso in
A-flat major which is based on material from the B section. Conventional
harmonies. The melody is tonally oriented, featuring scalewise
motion or outlining chords. Basic rhythmic patterns in 18, with
quite frequent use of ties. Sections often move in rhythmic unison.
Clear, firm bass line supports the upper voices.

Technical Challenges: Dynamic changes must be well controlled.
Good blend of sound on chords must be sought. Balance between
melody and accompaniment requires sensitive listening and adjusting.
Pick-up figures in the low brass, linking one phrase to the next,
must be clearly brought out. The entries after rests must be very
precise (e.g., on the figures). Careful counting is needed on
the tied notes.

Pedagogical Value: This piece is technically and musically
accessible for intermediate level students. It provides opportunities
to work on balance, blend, and dynamic contrasts.

Musical Characteristics: A B form, with a four-bar fanfare-style
introduction. The A section is crisp and energetic in style, while
the B section (Trio) is more legato. Simple and accessible harmonies
with primary chords and particular emphasis on I-V progressions
The A section is in F+, the B section in B-flat major. Weait uses
some chromatic neighbour note figures and some borrowed chords.
Melodic movement is straight-forward, with stepwise motion and
leaps of thirds predominating. There are frequent leaps of fourths
and fifths in the I-V type bass patterns for low brass and woodwinds.
There is some use of upper woodwind commentary or interjections
at phrase endings, leading into the subsequent phrase. Cut time
with no tempo indication in the score. A lively tempo would seem
appropriate, although with junior players a more moderate tempo
would be more practical. Rhythmic patterns are basic, straight-forward.
There are some ties across the bar line, resulting in relatively
simple syncopations. There are also some accented fourth beats.
Texture is mainly melody with simple accompaniment (on- and off-beat
patterns of alternating quarter note/quarter rest). Various instruments
and sections carry the melody. Dynamics range from pp to f. There
are a moderate number of dynamic changes, with terraced effects
predominating. Timbre variety is provided by the use of Snare
Drum wire brush on the ad lib dance rhythm passages in the Trio,
and by the optional muted figures for Trumpets.

Technical Challenges: Except for some high Flute passages (up
to g), ranges are generally Easy to Medium.
Good dexterity is needed on the opening woodwind trills. Flutes
have some alternations between c and d.
Some side keys are required for Flute chromatic neighbour note
figures. There is occasional chromatic movement for Trombone.
Some Snare Drum alternate sticking is required with some flams
occasionally in repeated and syncopated contexts. Articulation
must be well controlled. For example, the opening theme requires
care in producing the accents, slurs, and staccato. Fourth beat
accents must be played precisely. Good control is needed on Flute
staccato and occasional accents in the upper register, and on
Tuba alternating quarter note/quarter rest patterns where the
second staccato note is in the low register, especially when the
dynamic level is soft. Phrasing is very regular (four-bar phrases,
and four-plus-four-bar phrases). In the latter case, there are
opportunities for catch breaths after the first quarter of the
fourth bar, before the next three quarters lead into the next
four bars. There are no real endurance problems because phrases
are generally alternated, passing from section to section. Trumpets
have ample time to prepare for their optional muted figures. In
general, the accompaniment must be kept light so that it does
not overpower the melody. The on- and off-beat accompanying figures
must be well co-ordinated. Chords must be carefully tuned.

Pedagogical Value: An approachable, enjoyable march which provides
useful training in staccato and legato articulations, and which
aids ensemble development (dynamic control, balance between melody
and accompaniment, chord tuning).

Musical Characteristics: Standard march form. The first section,
in B-flat major, features crisp staccato articulation, while the
trio, in E-flat major, introduces some contrasting legato lines.
Tonal harmonies, with emphasis on primary chords but with some
secondary dominants and some chromaticism. The crisp, energetic,
rhythmic march theme features triadic structures and repeated
notes. The trio is introduced by staccato triadic figures reminiscent
of the march, but a more sustained cantabile melodic line follows
this brief introduction. The dynamics range from pp in the accompanying
voices in the trio, to ff on the full band final chord. Generally
straight-forward rhythmic patterns in cut time. Frequent use of
alternating quarter note/quarter rest patterns in the accompanying
voices. The melodic line in the march moves mainly in quarter
and eighth notes, while in the trio, the melody moves mainly in
whole and half notes. The upper woodwinds and Trumpet have most
of the melodic interest.

Technical Challenges: Although the piece is rated Medium, there
are some difficult ranges for Flutes, Clarinets, Bassoons, and
Trumpet, requiring good breath control and support. The Trumpet
part is soloistic, requiring clean articulation of eighth notes,
ascending slurs of thirds in the upper register (some can be made
easier by using alternate fingerings), and secure intonation.
The brass players have one triplet on a repeated pitch. This triplet
must be played with clarity and precision. The sixteenth note
run in the upper woodwinds at the end must be played cleanly and
fluently. The accompanying voices must be light and precise. The
Flutes, Oboes, Clarinets, and Trumpet have soft, sustained eight-bar
phrases in the trio. These require good breath control and support.
Melody and accompaniment must be well balanced throughout. Where
the melodic line moves in octaves or unisons, these must be carefully
tuned. Light staccato articulation is required of all players.
Even the "forte marcato" section after letter A must
not be too heavy and ponderous. Accents must be observed but the
tone should not be forced.

Pedagogical Value: Provides valuable articulation training
because of the required contrasts between crisp, light staccato
and sustained legato. Useful for working on ensemble balance between
melody and accompaniment. A charming piece which fits together
easily. Well suited to an intermediate band with some more advanced
Flute, Clarinet and Trumpet players.

Musical Characteristics: This march is in A B A' form. The
A section is "Maestoso" with quarter note = 104-116.
The contrasting B section is "Poco piu mosso," with
quarter note = 120-132. The stately style of the A section contrasts
with the lighter, gentler style of the B section. Section A features
a sustained melody with a quarter note accompaniment. There is
a good deal of quarter note motion throughout the A section, with
slurs and tenuto and staccato articulations. Section B features
repeated dotted eighth and sixteenth note figures altemating with
tied whole notes. 4/4 metre is used throughout the composition.
There is some use of simple syncopations and of imitative effects.
The interval of a perfect fourth is used extensively in melodic
and accompaniment patterns. The harmonic idiom is tonal, with
much use of quartal harmony. The main tonal centre is C. There
is movement to other key centres, but no key signatures are used.
Various textures are employed, from single lines to full band.
Some sections are homophonic while others are polyphonic. Some
linear ostinato techniques are used, and there are some solo and
soli passages. The dynamic range is from pp to ff with frequent
use of cresc. and dim. effects. Trumpets have some use of straight
mutes. Changes of timbre contribute to the musical interest of
the piece (e.g., solo instruments, sectional soli, brass and woodwind
choirs, and full band).

Technical Challenges: Careful work is needed to achieve the
variety of articulation called for in this piece. Precision of
articulation and rhythm are needed. Security and clarity must
be sought on lightly scored accompaniments. Solo and soli passages
require secure, confident playing. Good balance is needed between
melody and accompaniment. Intonation requires attention. Since
no key signatures are used, accidentals must be carefully observed.
Woodwinds have frequent use of chromatic fingerings, and there
are frequent break crossings.

Pedagogical Value: This is an expressive, accessible, carefully
crafted work, with musical interest in all parts. It is useful
in developing articulation, intonation, and ensemble precision.